Restoration of ‘Theatrum Orbis Terrarum’

Oliver Claes has now been working as a paper and book conservator for more than a decade. This includes taking care of the conservation of The Phoebus Foundation’s topographical and historical book collection. For the past three months, Oliver’s work included the restoration of Abraham Ortelius’ sixteenth-century masterpiece Theatrum Orbis Terrarum.

Paper and book conservator Oliver Claes at work in The Phoebus Foundation’s studio, carrying out a book conservation treatment.

“The Theatrum Orbis Terrarum (‘theatre of the world’) is the very first world atlas, published on the 20th of May 1570. The map book was compiled by Antwerp-based Abraham Ortelius (1527-1598) and edited by Gillis Coppens I. Ortelius compiled the best and most reliable maps of his time in one volume. A unique feature of it is that all the maps were engraved in the same style and size on copper plates, as well as arranged by continent, region and state. This ensured that the atlas remained popular for decades and was even translated into other languages.”

Sixteenth-century book with a worn parchment binding from The Phoebus Foundation collection, before conservation.

“The condition of the book was very poor. The book block (the collection of quires) was very soiled, and the binding distorted. Moreover, it had also come loose, and the various quires revealed multiple damages and gaps. The binding made of parchment was broken and could no longer fulfil its role of protecting the book block. Furthermore, the sturdiness that a binding should provide to the book block had completely disappeared due to the lack of sturdy cartons. Upon opening the book, the fragile and coloured title page immediately became visible.”

Opened sixteenth-century copy of Theatrum Orbis Terrarum by Abraham Ortelius, showing the illustrated title page before conservation.

“The aim of the conservation was a thorough cleaning of all components, as well as filling and reinforcing the binding. To achieve this, the book had to be fully dismantled. Each gathering was individually reinforced with Japanese or Western paper, using starch paste.”

Detached gatherings and spine of a sixteenth-century book during paper and book conservation in the studio.

“Afterwards, all the quires were similarly bound with twine on parchment strips. The title page was also cleaned, completed and retouched. A fun finding during the restoration of this book was that a drawn “little man” was discovered on the inside of the parchment folded over the cardboard (of the book binding). Presumably, this was a personal addition by the bookbinder.”

Detail views of a sixteenth-century copy of Theatrum Orbis Terrarum by Abraham Ortelius during book conservation, showing the gatherings and parchment binding.

“The vellum of the book binding was repaired with similar vellum and the lost cartons (covers) were filled in with acid-free cardboard.”

Sixteenth-century book during book conservation, with gatherings secured in a press and a reconstructed spine in progress.

Paper conservator at work with wet sheets during paper conservation, alongside a stack of dried and flattened pages in the studio.

“A major issue was also the lack of endpapers. These are needed as protective pages at the front and back of the book. After an unsuccessful search in various art and paper shops, I eventually had the paper made by hand by the Walloon master papermaker Pascal Jeanjean. Using a sample of the original paper, he produced a similar sheet which, like the original leaves, is also hand-made. Handmade paper can be recognised by the chain lines or watermarks that become visible when the paper is held up to the light.”

Pascal explained more about this himself:

“Ik ervoor gekozen om grondstoffen te gebruiken die vergelijkbaar zijn met de oorspronkelijke grondstoffen van het papier van de atlas, namelijk katoenen lompen en stof. Na een behandeling van de katoenen lompen in een bad, ben ik gestart met het loskloppen van het katoen tot pulp in een Valley Beater, een moderne versie van een “Hollander”. Deze pulp vormt dus de basis voor het latere papier. Om de juiste papierkleur te benaderen werden minerale poeders bij de papierpulp gevoegd. Calciumcarbonaat werd toegevoegd om de alkalische reserve te verhogen.”

“Vervolgens werd het juiste schepraam gekozen met een gelijkaardig patroon van dunne koperdraden per vierkante centimeter (gearceerd) zoals bij het originele papierstaal. Uit een grote bak werd daarmee het papier geschept. Daarna werd een stapel papier, met tussenvellen van vilt, op elkaar gestapeld en met een grote papierpers het grootste deel van het water uit het papier gehaald (60%). Met tussenvellen van speciaal karton werd het overige vocht uit de vellen gehaald.”

Sixteenth-century copy of Theatrum Orbis Terrarum by Abraham Ortelius, showing the illustrated title page and parchment binding after conservation.

“The straps on which the book was joined were glued through and onto the cartons of the book binding during the rejoining of the binding and book block. This ensures that both parts stay tightly together. The new endpapers were glued to the inside of the boards (plates) of the book binding. Finally, new ribbons were added to the book binding.”